Riedel on the current season — Page 3

At this point I would say that Dear Evan Hansen is definitely the frontrunner for score, book, and musical. I really do expect to see Come from Away get many nominations, but probably not actually win anything (a la Waitress which has done fantastically without any Tony wins). Comet will probably take most of the techincal awards such as direction, set, maybe lighting, maybe costumes, and probably orchestrations. Riedel is notoriously incorrect every single year. Come from Away is definitely not the frontrunner, in fact I would argue that Dear Evan Hansen's chances at winning have actually gotten stronger since the creation of this (incredibly annoying) fandom that has started since the cast album was released. The show has broken out of just the theatre community incredibly fast.

ethan231h said: "I think orchestrations, direction (Comet can get choreography) mayyyybe book



"

I'd easily give both Orchestrations and Direction to Comet, without question. I think Book is one Come From Away could win, because the book of DEH is the weakest part of the show and many people find Comet's to be confusing.

Lot666 said: "elephantseye said: "curel1 said: "Lot666 said: "10086sunset said: "http://nypost.com/2017/04/04/youll-never-get-tickets-to-these-shows-after-the-tonys/"

"'Anastasia'...is delighting teenage girls and their parents."

I just threw up a little. We did not see the movie and knew nothing of the story, but bought tickets for the show last fall based on the music box clip on the website and faith in Mr. Karimloo. This worries me."

Oh no, it's attracting younger people to the theater!!! The horror!!!1 It's a princess story, of course it's gonna attract a younger audience.

Theater snobs are the worst. "

Out of all the obnoxious things in this "article," that takes the cake for me. I'm tired of the implication that if teenage girls (and it's always girls) like something, it must be vapid, or unintellectual, or inferior. Teenage girls and good work aren't mutually exclusive."

You and several others here have completely misunderstood my concern. I am hardly a "theater snob" and I am not in the habit of disparaging shows as "vapid" or "unintellectual" (although those adjectives have been used by pompous critics, professional and otherwise, to describe several of my favorite shows).

In truth, I am an avid supporter of young people's involvement in the arts and have taken my share of them (including the 10 year old daughter of a dear friend) to the theater on multiple occasions. My concern is with the behavior often demonstrated by kids (both male and female) in large numbers in the theater. I recently attended a matinee that was overrun with misbehaved children and my post was simply an expression of concern that the Sunday afternoon performance for which I have tickets will prove a similar experience.

Teenage girls aren't children and are generally more well behaved than the unbearable "matinee ladies" so you should have a positive experience

I really don't feel DEH has slipped in any buzz. By Tony time, the 3 top contenders will have some initial excitement over their shows die down. Which will make it an interesting race for Musical this year. But this board has more spot on predictions than Riedel, so there's no use for his column.

In my opinion, from all the way up here in Vancouver Canada... people are still talking about Hamilton, I have never heard a person speak about DEH... and everyone is talking about Come From Away. I think DEH will be the Wicked of this season, with Come From Away taking the gold.

elephantseye said: "There was literally no way to get that from what you said. You quoted a thinly veiled jab at teenage girls and said you threw up a little-- how else was anyone supposed to take that."

You're entitled to your opinion, in which case mine would be that you're not very perceptive. Moreover, I did not interpret Riedel's statement as a "jab" at teenage girls; it was simply his approximation of the show's primary appeal. If you interpret that as demeaning to the show, then it's you who think ill of teenage girls.

elephantseye said: "If you're concerned about attending performances with large number of children, I can't fathom why you would pick a Sunday matinee."

I didn't "pick" a Sunday matinee; it was the only day I could go on.

elephantseye said: "I also don't understand how you could possibly not know that this show would attract younger audiences-- even if you were somehow unaware that it's based off of an animated movie, the fact that it's about a young girl in Paris discovering she's a princess surely could have tipped you off, as curel pointed out."

Whether you can understand it or not, as I stated, I knew nothing about the film. Not only had I not seen the movie, I'd never even heard of it. Therefore, your (and curel's) awareness that "it's about a young girl in Paris discovering she's a princess" is irrelevant. I bought my tickets last fall based on posts from theatre performers whom I follow on Twitter, because I trusted their opinions in the past about other shows I knew nothing of (e.g., Matilda and Curious Incident, both of which I loved) and was quite happy that I took a chance. As I also stated earlier, I read that Mr. Karimloo was in the cast and I think he has a wonderful voice and I've enjoyed the other shows that I've seen him in.

Updated On: 4/5/17 at 01:48 PM

It's important to remember that with the exception of New Musical, Book, and Score (I believe that's it) we have some really strong contenders in the revival catagory that could throw a wrench into some of these new musicals chances.

Mister Matt said: "I really wish I could see the shows this season. I'm very curious about Dear Evan Hansen. Listening to the score, I rate it below Comet and Come From Away (and I've yet to hear Groundhog Day, but I loved Minchin's work on Matilda), so I'm curious to know what about the show is generating so much excitement. I'm sure I'd enjoy it, but for some reason, nothing I've read or heard about it has really grabbed my interest."

I felt the same as you about the score (it's fine but aside from WTAW it doesn't excel far past 'fine' and saw it and still wasn't impressed. Ben Platt is exceptional but that's about it for me.

EvanK said: "In my opinion, from all the way up here in Vancouver Canada... people are still talking about Hamilton, I have never heard a person speak about DEH... and everyone is talking about Come From Away. I think DEH will be the Wicked of this season, with Come From Away taking the gold.

I'm from Vancouver as well, and I believe Come From Away is getting a lot of recognition and press time up here because of its Canadian connection. That doesn't quantify it deserving an award. I don't believe, unless you are connected to musical theatre, that anyone knows Dear Evan Hansen, or The Great Comet or most deserving possibilities in this field, regardless of being in Canada or not.

"

Mister Matt said: "I really wish I could see the shows this season. I'm very curious about Dear Evan Hansen. Listening to the score, I rate it below Comet and Come From Away (and I've yet to hear Groundhog Day, but I loved Minchin's work on Matilda), so I'm curious to know what about the show is generating so much excitement. I'm sure I'd enjoy it, but for some reason, nothing I've read or heard about it has really grabbed my interest."

That is really interesting, because to me the best of DEH is present in the OBCR. WTAW, For Forever and So Big/So Small are genuinely beautiful songs. I just can't get past my issues with the book. Whereas with CFA, whilst the OBCR is very good and captures a lot of the spirit of the show, seeing it really adds a great deal.

Mister Matt said: "I really wish I could see the shows this season. I'm very curious about Dear Evan Hansen. Listening to the score, I rate it below Comet and Come From Away (and I've yet to hear Groundhog Day, but I loved Minchin's work on Matilda), so I'm curious to know what about the show is generating so much excitement. I'm sure I'd enjoy it, but for some reason, nothing I've read or heard about it has really grabbed my interest."

i think that the score of DEH is vastly superior to both Come From Away and Great Comet. The more I listen to it the more I like it. Obviously a matter of personal taste.

icecreambenjamin said: "I hear people complain about the book to DEH, but I have yet to understand any real issues with it. Perhaps if you were looking for flaws you might see them, but there were no obvious book issues when I saw it. When I saw it, a couple of people sat next to me and actually said "I can't wait for this show to suck!" People seem to be out for blood on this show. I just don't understand that."

Well, for starters the ending is a complete cop-out. And if the story goes so viral, I do not buy that literally no one outside of maybe one character really questions the truth of what Evan is saying.

Of course there is a DEH backlash. I expected this. Anytime a play or a film or performance gets wild, sustained acclaim, it becomes popular to hate it. That's just the way it goes.

Anyhow, Riedel is often wrong. He's like the Dick Morris of the theater. For me, the battle is between DEH and CFA. I've seen both several times and think they're both beyond phenomenal in their own way. It's a Sophie's Choice decision.

I'm predicting DEH takes Best Musical, Book and Score and Ben. I think Michael Grief will be the a sacrificial lamb, yet again and lose to Christopher Ashley for CFA. The direction of CFA is much more complex and sophisticated. I think there will be a tight race between Rachel Bay Jones and Jenn Collela. Orchestrations will most likely go to DEH. Also featured actor presents an opportunity for CFA,Chad Kimball or Caesar Samayoa.

Updated On: 4/5/17 at 08:46 PM